Hostname: page-component-68945f75b7-wph62 Total loading time: 0 Render date: 2024-08-06T09:17:58.715Z Has data issue: false hasContentIssue false

“The Brightest Star”: Aida Overton Walker in the Age of Ragtime and Cakewalk

Published online by Cambridge University Press:  30 July 2009

Get access

Extract

A golden period of African- American music and dance nourished from the mid-1890s until the First World War. Minstrelsy had been the country's leading vernacular entertainment for half a century, but it was now in decline. Its sentimentality and nostalgia appeared passé and rustic in the more sophisticated and urbanized Gilded Age. An old order was breaking up and a new, looser, freer order taking its place, one that called for a faster beat.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1993

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

NOTES

1. Hobsbawm, E. J., The Age of Empire (New York: Vantage, 1987), p. 237.Google Scholar

2. Locke, Alain, “The Negro in the Arts,” United Arts: International Magazine of Asian Affairs 5 (06 1953): 177–81.Google Scholar

3. Van Vechten, Carl, “Terpsichorean Souvenirs,” Dance Magazine 31, (01 1957): 1618.Google Scholar

4. May 8, 1911, quoted in Woll, Allen, Black Musical Theatre: From Coontown to Dreamgirls (Baton Rouge: Louisiana State University Press, 1989), p. 55.Google Scholar

5. Brown, Sterling A., “The Negro on the Stage” (1940)Google Scholar, in The Negro in American Culture, Carnegie-Myrdal Study, The Negro in America, Unpublished study, Schomburg Center for Research in Black Culture, New York, p. 37.

6. Brown, , “Negro on the Stage,” p. 36.Google Scholar

7. Variety 36 (10 17, 1914): 13.Google Scholar

8. Fletcher, Tom, 100 Years of the Negro in Show Business (New York: Burdge, 1954), p. 18.Google Scholar

9. New York Amsterdam News, 12 22, 1934Google Scholar. For biographies of Williams, see Rowland, Mabel, ed., Bert Williams, Son of Laughter (New York: English Crafters, 1923)Google Scholar; Charters, Ann, Nobody: The Story of Bert Williams (New York: Macmillan, 1970)Google Scholar; and Smith, Eric Ledell, Bert Williams: A Biography of the Pioneer Black Comedian (Jefferson, Mo.: McFarland, 1992)Google Scholar. Unfortunately, there is as yet no biography of George Walker.

10. Trow's New York City Directory, Volume XCIII, for the Year Ending May 1, 1880 (New York: Trow City Directory, 1879), p. 1174.Google Scholar

11. Nugent, Richard Bruce, “Marshall's: A Portrait,” Phylon 5 (Fourth Quarter 1944): 317.Google Scholar

12. New York Mirror, 08 7, 1909.Google Scholar

13. Sampson, Henry T., The Ghost Walks: A Chronological History of Blacks in Show Business, 1865–1910 (Metuchen, N.J.: Scarecrow, 1988), p. 120.Google Scholar

14. Waldo, Terry, This Is Ragtime (New York: Hawthorn, 1976), p. 25.Google Scholar

15. Unidentified clipping dated March 29, 1903, Theater Division, Performing Arts Research Center, New York Public Library.

16. These musicals are of great importance and have been little dealt with. John Graziano is presently engaged in a study that will spell out their history, correct the errors that have crept into the literature, and place them in their proper perspective.

17. McKay, Claude, Harlem Glory: A Fragment of Aframerican Life (Chicago: Charles H. Kerr, 1990), p. 64.Google Scholar

18. Cohen-Stratyner, Barbara, Biographical Dictionary of Dance (New YorkShirmer, 1983), p. 920.Google Scholar

19. Newman, Richard, “Florence Mills,” in Notable Black American Women, ed. Smith, Jessie Carney (Detroit: Gale, 1991), pp. 752–56.Google Scholar

20. New York Telegraph, 09 20, 1901Google Scholar. Quoted in Sampson, , Ghost, p. 238.Google Scholar

21. Indianapolis Freeman, 12 14, 1901Google Scholar. Quoted in Sampson, , Ghost, p. 241.Google Scholar

22. Detroit Free Press, 02 3, 1902.Google Scholar

23. New York Times, 11 12, 1989, sec. 2, p. 40.Google Scholar

24. New York American, 02 23, 1906.Google Scholar

25. Quoted in Cuney-Hare, Maud, Negro Musicians and Their Music (Washington, D.C.: Associated Publishers, 1936), pp. 159–60.Google Scholar

26. Charters, , Nobody, p. 69.Google Scholar

27. Green, Jeffrey T., “In Dahomey in London in 1903,” Black Perspective in Music 2 (Spring 1983): 2340Google Scholar. See also the unsourced clipping “King Edward and the Negro Opera” in the Vertical File, Schomburg Center for Research in Black Culture, New York Public Library.

28. Brown, , “Negro on the Stage,” p. 36.Google Scholar

29. New York Times, 11 26, 1905, p. 9.Google Scholar

30. Kellner, Bruce, ed., ‘Keep A-Inchin' Along:’ Selected Writings of Carl Van Vechten about Black Arts and Letters (Westport Conn.: Greenwood, 1979), p. 31.Google Scholar

31. Unsourced clipping, Harvard Theater Collection.

32. Dramatic Mirror, 02 25, 1908, p. 3.Google Scholar

33. Boston, Sunday Herald, 09 6, 1908.Google Scholar

34. Unsourced clipping, Harvard Theater Collection.

35. Nugent, , “Marshall's,” p. 317Google Scholar. The role of transvestism in racial as well as sexual identity, and their combination, is a theme that needs study. See “Black and White TV: Cross-Dressing the Color Line,” chapter 11 of Garber's, MarjorieVested Interests: Cross-Dressing and Cultural Anxiety (New York: Routledge, 1992), pp. 267303.Google Scholar

36. Variety, 05 13, 1911.Google Scholar

37. Doggett, R. G., “The Late Aida Overton Walker: The Artist,” Colored American Review (01 1916): 17.Google Scholar

38. Dramatic Mirror, 05 8, 1911.Google Scholar

39. August 3, 1912.

40. Variety, 08 9, 1912.Google Scholar

41. Variety, 08 7, 1914, p. 15Google Scholar; and Variety, 05 8, 1914, p. 14.Google Scholar

42. New York Times, 10 12, 1914, p. 9Google Scholar; and Variety, 10 17, 1914.Google Scholar

15. Dramatic Mirror, 11 11, 1914, p. 6.Google Scholar

43. New York Times, 10 27, 1914, p. 5.Google Scholar

44. Kellner, , ‘Keep A-Inchin' Along,’ pp. 23, 26.Google Scholar

45. Quoted by Armstead-Johnson, Helen, “Some Late Information on Some Early People,” Encore: American and Worldwide News 4 (06 23–07 4, 1975): 52.Google Scholar

46. Quoted in Sampson, Henry T., Blacks in Blackface: A Source Book on Early Black Musical Shows (Metuchen, N.J.: Scarecrow, 1980), p. 134.Google Scholar

47. Pittsburgh Leader, 05 11, 1906.Google Scholar

48. Doggett, , “Late Aida Overton Walker,” p. 17.Google Scholar

49. Lane, Roger, William Dorsey's Philadelphia and Ours: On the Past and Future of the Black City in America (New York: Oxford University Press, 1991), p. 332.Google Scholar